No. 10 characters
Ah, can you name them all?
Yes. 10 characters. 
Miles was another one who couldn’t play and sing at the same time…I’ll get me coat 
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Ritchie Bla
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Very likeable LedZep cover released this summer by H.C. McEntire
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I couldn’t say but a Rolling Stones magazine interview he highlights early Clapton and Townsend as his main influences. Townsend for the rhythm. A little Peter Green too. I decided to look it up, purely out of interest and the blues interest is certainly a little unexpected.
Given his liking for abusing his tremolo you would think Hendrix would be an influence but apparently not so much.
I’ve not seen any mention of Yngwie.
Actually one person we’ve not mentioned on here, who I think deserves a mention and certainly fits with my liking of strong melodies is Michael Schenker.
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Oh I see, a bit of a surprising list but wasn’t quite thinking of that angle, rather in terms of an originator for shredding. I think its some track by Les Paul, then Blackmore, then it seems to go pan rock and roll and a few, including Van Halen picked it up at that point.
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supershow! never heard of it until about a year and a half ago, bruce is absolutely locked in with guy
same concert, but rahsaan roland kirk (plus his drummer & keyboard player) join bruce & guy on these two, kirk refuses guy’s entreaties to solo throughout ‘stormy monday’ because he’s such a weirdo
here’s kirk’s group by itself (i think this is earlier in the concert). you can see people in the audience sort of rolling their eyes through his spoken-word nonsense at the beginning, but he’s got them when the number’s over
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Not sure to be honest. Eddie and Yngwie certainly pushed it.
Eddie was there before Yngwie and influenced him, not the other way round.
Every chance. Never really a fan of Yngwie to be honest. Had a mate in Uni who was well into him. I couldn’t get into his stuff at all.
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Same here. Never saw the point of that pseudo-classical style, but I guess there’s an audience for that.
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Lest not we forget it was this that led to the travesty that was hair-metal; utter fcking sludge that was.
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I used to listen to quite a few guitar players who acted as solo artists but grew out of it in time. I’m still super impressed by Tony MacAlpine (still can’t tell if he’s a better guitarist or pianist) but the older I got, the slower my music got. And the slower I got.
I still think Jeff Loomis is the best and most complete guitar player I’ve heard, though he’ll only be known to metal fans, like most of my favourite instrumentalists. Alex Skolnick as well (incredible at both metal and jazz), Glenn Tipton… I also loved early Dream Theater works of John Petrucci (before he decided to race Jordan Rudess on every album and play meaninglessly fast).
Nowadays, it’s mostly Tony Iommi, Dave Chandler and Pepper Keenan. @anon27364116 knows what I mean. 
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Nah, Eddie came to the limelight much before Yngwie , If anything it was Yngwie copying from Eddie
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Great shout on Loomis and Skolnick, Both very capable guitarists. Skolnick was probably the best thrash guitarist i’ve seen(along with Marty)
Yeah, DT was never the same when they got Rudess. Their best albums where with Kevin Moore and to a lesser extent with Derek Sherinian
Skolnick, yeah, probably the best I’ve heard in thrash. I often joke how the Big Four of thrash is Testament’s line-up on their first four albums plus their drummer. 
In terms of combining supreme technical ability with pure emotion over the entire career span, though, Loomis was the one I found peerless, at least in the world of metal. He can play absolutely everything that is blues-based or melodic or death metal, all the way to neoclassic and modern metal that you can hear on his solo work and Conquering Dystopia. Every technique there is in rock’n’roll, he’s a master of it, yet he never let it overtake what I consider the important part of playing - heart.
Petrucci was that kind of guitar player but he changed after Falling Into Infinity. Rudess is a rightful master of his instrument(s) but I’ve always felt his arrival took Dream Theater in the wrong direction, even though I love their albums up to and concluding with Train of Thought. It’s like his arrival pushed the already outstanding instrumentalists to their boundaries and it was obviously felt the most in Petrucci’s arrangements and soloing. It was different with Moore and Sherinian, I admire the latter (I’m not a fan of jazz or fusion, so Planet X never grew on me) but the former is just a heartfelt musician (you’ve probably checked his project OSI, it’s a bit darker than Dream Theater but unbound by the rules of progressive rock and metal).
Part of the reason why I find myself listening to Pain of Salvation, Opeth more than I listen to Dream Theater nowadays. I still adore the La Brie era DT albums (Including the Change of Seasons EP) till ToT , but somewhere down the line, they lost their heads on song writing.